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2024 Edition

Call for Papers

April 1, 2024


Photo Credit: Amir Denzell Hall

“Coming in with the Rain”: Celebrating Circum-Caribbean Dance Scholarship


Dancer with Hoop

Rainy Demerson, PhD

Dancer with Hoop

John Hunte, PhD


John Hunte PhD contributes to creative arts, cultural studies and gender studies scholarship at institutions, productions, and programmes across the Caribbean region. An accomplished performing arts practitioner/producer, cultural studies activist/researcher, choreographer, and teacher of 40+ years, Hunte is armed with a Diploma in Dance Theatre and Production: Edna Manley College of the Visual and Performing Arts (Jamaica 1990), a BS Dance: State University of New York - College at Brockport (USA 1991, an MFA in Performing Arts Management: City University of New York, Brooklyn College (USA 2003) and a PhD Cultural Studies: University of the West Indies Cave Hill (UWI 2014). His PhD thesis, Beyond the Silence: Men, Dance and Masculinity in the Caribbean, interrogating where dance and masculinity intersect for male concert dancers. He was Cultural Officer – Dance at the National Cultural Foundation (NCF), Barbados (2011-2015) and was Artistic Director, CARIFESTA XIII in Barbados from February to September 2017. His current pursuits include: Executive Director of Barbados Dance Project Inc. a not-for-profit organization dedicated the collaboration, educating and engaging through dance since 2014; AD/Principal for Barbados Dance Theatre Inc.; Coordinator of National Initiative to revive Barbados’ oldest cultural intangible heritage, the Landship.

Dancer with Hoop

John Hunte, PhD


Rainy Demerson is a dance artist and scholar invested in global intersectional feminism and decolonial embodiments. She has trained extensively in San Francisco and New York City, as well as at L’ecole des Sables in Senegal, Teatro Nacional de Cuba, and Escola de Dança da FUNCEB in Brazil. She has produced concerts in New York and Senegal and her work has been presented in festivals across the United States and in South Africa. Dr. Demerson’s pedagogical praxis is informed by many years of teaching disenfranchised youth as well as formal study in the Dance Education MA at New York University. She also holds an MFA in Dance from Hollins University and a PhD in Critical Dance Studies from University of California Riverside where she published her dissertation, Decolonial Moves: Re-Membering Black Women in South African Contemporary Dance. She taught at Lindenwood University, El Paso Community College, Crafton Hills College, Scripps College, California Polytechnic University Pomona, and California State University San Marcos before joining the University of the West Indies Cave Hill in Barbados. She is also part of the guest faculty in the Hollins University MFA in Dance. Her work has been published in Dance Research Journal,  Journal of Dance Education, Journal of Emerging Dance Scholarship, Critical Stages, Research in Dance and Physical Education, and several anthologies.

Dancer with Hoop

Rainy Demerson, PhD


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A Special Issue of Dance Chronicle

In his 1992 CARIFESTA speech on “The New Aesthetics and the Nature of Culture in the Caribbean.” titled “The Dream of Coming in with the Rain,” the acclaimed Barbadian poet and scholar [Edward] Kamau Brathwaite describes the geological and psychological fracturing of the Caribbean region as a geo-psychic fragmentation which must be acknowledged and understood in order to define or appreciate a Caribbean aesthetic.* This fragmentation does not always sit comfortably within national artistic projects which tend towards circumscribing cultural boundaries within geo-political spheres. Offering another paradigm, Indian-British scholar Homi Bhabha writes, “I want to take my stand on the shifting margins of cultural displacement - that confounds any profound or ‘authentic’ sense of a ‘national’ cultural or an ‘organic’ intellectual - and ask what the function of a committed theoretical perspective might be, once the cultural and historical hybridity of the post-colonial world is taken as the paradigmatic place of departure.”** Standing on this fragmented, co-created, and shifting ground, we can embrace the vibrational qualities of the emerging creativity that is in relation to land, body and spirit so eloquently expressed by Martinican author Édouard Glissant when he states, “I believe in the spirituality of the sacred. Not of religion, but of the sacred. What is the spirituality of the sacred? It’s the intuition of how we relate to the world. This is what the imaginary is: we feel the rumbling underneath us.”*** If we use the lens of movement to look beneath the rumbling surfaces of the Caribbean, what has emerged in its imaginary?

Brathwaite notes that it is often in art that ulterior histories reveal themselves, offering more accurate and complex narratives than the national discourse allows. As a non-verbal mode of communication, dance has been a crucial nexus for Indigenous, enslaved, indentured, and maroon communities to maintain histories and generate futurities. Brathwaite’s essay reminds us of the urgent need to learn one’s own landscape in order to know one’s self and one’s aesthetic or values as an artist. This calls into question how dance communities in the Caribbean navigate Westernization in the midst of a climate catastrophe and within an Information Age that pulls us further and further from the natural environments that have nurtured many Caribbean dance forms. Locating Caribbean identities as multifaceted, tectonically shifting, and experiential, his paradigm makes way for embodied discourses of organic practices that are not easily fixed by the parameters of culture, genetics, or national heritage. This observational, sensorial and curious approach guides the energy with which we launch this call for papers.

This special issue invites scholars from the Circum-Caribbean**** to share their research in French, English, Spanish, and Dutch. We encourage articles that consider Brathwaite’s geo-fragmentation, Homi Bhabha’s notion of hybridity, and Édouard Glissant’s explication of non-religious spirituality in their approach to a nuanced reading of embodiment. We are particularly interested in research which engages the contemporary moment and emerging phenomena which may necessitate blurring the edges of lineages, traditions and innovations. If antillanité is a method, not a state of being, “confirming us in ourselves and joining us to an elsewhere” as Glissant contends, how is it danced?*****

We ask authors to consider the following questions:

● How have sacred, social, and concert dance genres changed in the generation of post-independence dance-makers?

● How have colonialism, neo-colonialism, the tourist gaze, and the tourist dollar affected the development of dance in the region?

● How have debates within dance studies occluded and/or misrepresented the aesthetics and values of dances of the Caribbean?

● How has sexuality been re-presented in Caribbean dance forms, and is this changing?

● How do dances in the Caribbean challenge, reproduce or operate outside of colonial or national discourses of class, race, gender and sexuality?

●  What new themes, forms and genres are emerging from the region?

● How are technology and social media impacting and being impacted by dance from the region?

Submission Instructions: All manuscripts will receive double anonymous peer review. Manuscripts, 6,000–10,000 words in length, may be submitted any time before April 1, 2024.

Dance Chronicle follows the Chicago Manual of Style. Please submit manuscripts through the Taylor & Francis Submission Portal.

Deadline for submissions: April 1, 2024

If you have questions, please email Dr. Rainy Demerson at

* Edward Kamau Brathwaite, “The Dream of Coming in with the Rain” in The New Aesthetic and the Meaning of Culture in the Caribbean: Proceedings of the Carifesta V Symposia August 1992, ed. Pearl Eintou Springer (Port of Spain, Trinidad: National Carnival Commission, 1995).

** Homi Bhabha, “The Commitment to Theory” in The Location of Culture (New York: Routledge, 1994), 21.

*** Édouard Glissant, “One World in Relation: Édouard Glissant in Conversation with Manthia Diawara,” Journal of Contemporary African Art 28, (2011): 12.

**** Circum-Caribbean - what has been defined as the Circum or Wider Caribbean, a space which includes. the insular Caribbean, together with the northern coastal states of South America, Central America, and the Caribbean coast of Mexico. From Sanz, Ileana “Early Groundings for a Circum-Caribbean Integrationist Thought,” Caribbean Quarterly 55, no. 1 (2009): 1-14.

 ***** Édouard Glissant, Poetics of Relation (Ann Arbor: University of Michigan Press, 1997), 196.

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Author Guidelines

Dance Chronicle accepts the following types of manuscripts: Articles and Book Reviews


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You must obtain the necessary permission to reuse third-party material in your article. The use of short extracts of text and some other types of material is usually permitted, on a limited basis, for the purposes of criticism and review without securing formal permission. If you wish to include any material in your paper for which you do not hold copyright, and which is not covered by this informal agreement, you will need to obtain written permission from the copyright owner prior to submission. More information on requesting permission to reproduce work(s) under copyright.

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You have the option to publish open access in this journal via our Open Select publishing program. Publishing open access means that your article will be free to access online immediately on publication, increasing the visibility, readership and impact of your research. Articles published Open Select with Taylor & Francis typically receive 95% more citations* and over 7 times as many downloads** compared to those that are not published Open Select.

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*Citations received up to 9th June 2021 for articles published in 2016-2020 in journals listed in Web of Science®. Data obtained on 9th June 2021, from Digital Science's Dimensions platform, available at
**Usage in 2018-2020 for articles published in 2016-2020.


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